Seattle Civic Poet Anastacia-Renee has been busy. She was invited to give a TEDx talk, which you can view here and she was a 2018 resident of the Mineral School. Mineral School nurtures literary, performing, and visual artists to generate new work and present that work to the public. They provide overnight artists residency programs and public events from a classic 1947 elementary school in a lake town near Mt. Rainier. Learn more about Anastacia-Renee’s residency here.
With Bettina Judd, Helen K. Thomas and Jourdan Imani Keith
Monday, February 18, 7 p.m.
Jack Straw Cultural Center
4261 Roosevelt Way NE,
Seattle, WA 98105
Speak to Me! is an intergenerational reading series showcasing poets and writers curated, hosted and moderated by Anastacia-Renee, Seattle Civic Poet (Seattle Office of Arts & Culture). This special installment of the series celebrates the birth, life, and work of Audre Lorde.
Bettina Judd is an interdisciplinary writer, artist and performer whose research focus is on Black women’s creative production and our use of visual art, literature, and music to develop feminist thought. Her current book manuscript argues that Black women’s creative production is feminist knowledge production produced by registers of affect she calls “feelin.” She is currently Assistant Professor of Gender, Women, and Sexuality Studies at the University of Washington. She has received fellowships from the Five Colleges, The Vermont Studio Center and the University of Maryland. Her poems and essays have appeared in Torch, Mythium, Meridians and other journals and anthologies. Her collection of poems titled patient. which tackles the history of medical experimentation on and display of Black women won the Black Lawrence Press Hudson Book Prize and was released in November of 2014. As a performer she has been invited to perform for audiences within the United States and internationally. Find out more information about Bettina at www.bettinajudd.com.
Helen K. Thomas is a native of Seattle, WA by way of Lagos, Nigeria. She writes Young Adult fiction about black girls surviving, thriving and trying to figure it all out in the Pacific Northwest.
Jourdan Imani Keith is a poet, essayist, playwright, naturalist and activist. Her TEDx Talk, “Your Body of Water,” the theme for King County’s 2016-2018 Poetry on Buses program, won a 2018 Americans for the Arts Public Art award. Keith’s Orion Magazine essays, “Desegregating Wilderness” and ” At Risk” were selected for the 2015 Best American Science and Nature Writing Anthology (Houghton Mifflin). Her ekphrastic poems and stories were commissioned by the Northwest African American Museum to be featured as over-sized text on its walls during the Glass Orchidarium exhibit and her creation myth, ” We Were All Water,” was commissioned by Seattle Art Museum for a featured performance at the REMIX . A keeper of culture and history in the Griot (gree-oh) storytelling tradition, she has been awarded fellowships from Hedgebrook, Wildbranch, Santa Fe Science Writing workshop, VONA, and Jack Straw. She’s received multiple commissions and awards from University of Washington, Artist Trust, 4Culture and the Seattle Office of Arts & Culture. Her memoir in essays, Tugging at the Web is forthcoming from University of Washington Press.
*Speak to Me! is an intergenerational reading series showcasing poets and writers curated, hosted and moderated by Anastacia-Renee, Seattle Civic Poet (Seattle Office of Arts & Culture).
Don’t miss the biggest (and last) Viaduct party ever!
In celebration of the future waterfront and new tunnel and part of the overall StepForward99.com series of events, the Office of the Waterfront and the Seattle Office of Arts & Culture will activate the top deck of Alaskan Way Viaduct with a once in a lifetime arts festival featuring unique performances, activities, artworks, installations and interventions from over 100 regional artists and organizations. All arts activities will take place on the top level of the Viaduct.
12:30 p.m. – Musical and Performance Procession: Hello | Goodbye will begin with a processional featuring music and performances from Orkestar Zirkonium and Friends, Vamala, Fremont Art Council, Hālau Hula ʻO Lono, LelaVision, InterPlay, SANCA, Leela Kathak, Sara Lovett’s Giant Puppets, The Cabiri and more. The public is invited to join the procession which begins at Seneca St.
- Akira Ohiso, Native fish windsocks
- Scott Trimble, Olympic Mountains 3-D installation
- Aubrey Derush and Patrick Knie, Large scale wooden boat
- Ulises Mariscal, Spray panted panels
- Cedric Bomford, RV selfie station
- April Soeterman, Revised road signs
- Minh Carrico, Hidden message flags
- Naomi Haverland, large scale 3-D mural
- Roger Fernandez, Display of Native carved canoes with local tribal families
- Tia Matthies, Whimsical goats
- Lela Vision, Interactive, large scale bird sculpture
- Seattle’s Art Cars
- A series of vintage Shasta trailers
- Dewa Dorje & Friends
- Emmett Montgomery & Friends
- AU Collective
- Fabulous Downey Brothers
- Hello/Goodbye Drag Queens
- Lukas Spivey and Culture Hustlers
- Evan Flory Barnes
- SuttonBeresCuller’s Department of Bearing and Orientation
We advise guests to wear sturdy, closed-toed shoes, dress warmly for the weather, and prepare for possible rainfall.
American Sign Language (ASL) Interpretation
The Hello Goodbye Viaduct Arts Festival will feature activities, installations, and artworks from over 100 artists. ASL interpretation will be provided at storytelling and comedic performances occurring on the North end of the Viaduct between 2:00-5:30 p.m. ASL interpreters will also be available from 12:30-6:30 p.m. at programming stations operated by the Office of the Waterfront, located near the Pike Place Market overlook.
Wheelchair access and Viaduct slope grade information
Alaskan Way Viaduct was formerly an active roadway and has not been outfitted for full wheelchair access – guests should take care to avoid occasional potholes, gaps, and other irregularities in the pavement. Wheelchair-accessible portable restrooms will be available for use near both the northern and southern entrances to the Viaduct festival. Production staff members will be on site and available for additional questions and accessibility needs.
From Lenora to Pike Street the roadway’s longitudinal grade is 3.73% northbound and 4.04% southbound. The Viaduct is flat at a 0% longitudinal grade North and South of this area. Cross-slope of the roadway can be up to 4.0% around Virginia Street.
The Seattle Office of Arts & Culture strives to make its events and programs accessible for everyone. For additional disability accommodations or accessibility information, contact Grace Chai at firstname.lastname@example.org at your earliest opportunity.
Getting there / parking
Please visit https://99stepforward.com/getting-there.htm for additional information on planning your transportation to the Hello Goodbye Viaduct Arts Festival.
January 8 – March 6, 2019
Reception on Thursday, January 10, 4 – 6pm
Forty-nine exhilarating paintings created by seven vibrant persons living with dementia— each sharing a unique view of the world.
Delightful and surprising, the artwork effortlessly connects us—a vivid illustration that persons living with memory loss and dementia are Still Here—living with dignity, purpose and joy.
- Julia Blackburn
- Rosemary Freeman
- Gloria Kinney
- Jane Kippenhan
- Pat Kristoferson
- Lenny Larson
- Rafe Schwimmer
Meet these valuable community artists and their families, along with care providers at the Opening Reception. Enjoy light hors d’oeuvres and an exhibition tour.
Saturday, February 2, 2019
In celebration of the future waterfront and tunnel, the Office of the Waterfront and the Seattle Office of Arts & Culture will activate the top deck of Alaskan Way Viaduct with a once in a lifetime arts festival featuring unique performances, activities, and site-specific art installations from over 100 regional artists and organizations.
12:30 p.m.: Musical and Performance Procession:
Hello | Goodbye will begin with a processional featuring music and performances from Orkestar Zirkonium, Sara Lovett’s Giant Puppets, The Cabiri and more. The public is invited to join the procession which begins at Seneca St.
All Day: Activities, Installations and Performances:
Engage youth and family with a variety of activities, performances and unique site specific installations from regional artists and organizations including Au Collective, Cedric Bomford, Minh Carrico, Scott Trimble, April Soetarman, Sutton Beres Culler, Aubrey DeRush, Dewa Dorje, Roger Fernandes, Naomi Haverland, LelaVision, Ulises Mariscal, Tia Matthies, Emmett Montgomery, Akira Ohiso, DK Pan, Shawn Parks, The Cabiri, The Fabulous Downey Brothers, SANCA, and more!
The festival will be accessible via Seneca Street and the Battery Street Tunnel during the time period corresponding with your ticket.
Check Seattle Traffic website for the best way to get to the get around town.
Heading north: I-5 to Seneca St exit (#165), west on Seneca St to 1st Ave, and turn right (north) on 1st Ave.
Heading south: I-5 to Union St exit (#165B), west (toward Puget Sound) on Union St to 1st Ave.
From I-90: Heading west, merge onto I-5 North; take Madison St exit (#2C). Turn left on Madison and right on 1st Ave.
BY PUBLIC TRANSIT
Visit the Metro website for a complete guide to Seattle’s transit system and a map of nearby bus stops.
Sound Transit Link Light Rail University Street Station exits onto 2nd Ave.
See the SDOT interactive bike map for all levels of riders. Multiple bike racks are available on-street and public racks can be accessed by ramp or elevator on Union between 1st and 2nd Avenue on the first parking level of the Russell Investment Center Garage.
Boats from West Seattle, Bremerton, and Bainbridge, Blake, Vashon, and Vancouver Islands disembark within walking distance
Fish by Akira Ohiso
3D chalk by Naomi Haverland
Inaugural exhibition opening celebration Saturday, March 23, 2019, 12 – 7 p.m.
Exhibition Hours: Tuesday – Saturday, 10 a.m. – 5 p.m.; First Thursdays, 10 a.m. – 8 p.m.
SEATTLE – In recognition of the Coast Salish peoples on whose land the City of Seattle is built, the Office of Arts & Culture (ARTS) is honored to open ARTS at King Street Station, a new arts and cultural hub with yəhaw̓, an indigenous-centered inaugural exhibition that will run March 23 – August 3, 2019.
yəhaw̓ is an expansive multi-city, yearlong project. It includes satellite installations across the Puget Sound region, performances, artist-in-residence, a publication, art markets, and culminates in a large-scale exhibition at King Street Station. The title yəhaw̓, is drawn from the Coast Salish story of Native people from all tribes uniting around a common cause and lifting up the sky together. yəhaw̓ will reflect a nuanced, inclusive narrative that firmly establishes Native creatives as belonging in the here and now. yəhaw̓ is an open call project; all Indigenous creatives living in the region were invited to participate and everyone who applied has work represented in the programming. The project was conceived and curated by Tracy Rector (Choctaw/Seminole), Asia Tail (Cherokee Nation), and Satpreet Kahlon.
The exhibition at King Street Station is the centerpiece of the yəhaw̓ project. In the spirit of the yəhaw̓ story, the exhibition will be a collective portrait of Native America featuring artwork by over 200 creators by a range of master artisans and elders, to gallery-represented and museum-collected artists, to youth and emerging creatives who will be exhibiting in a gallery for the first time.
The exhibition challenges divisions between craft and fine art, as well as traditional and contemporary practices, by equally valuing all artforms as integral to the cultural continuum. Artworks include sculpture, photography, design, printmaking, woodworking, film, metalwork, glass, and textiles, encompassing an astonishing breadth of creative practices. Site-specific artworks have been commissioned for the exhibition by Chai Adera, Natalie Ball, Demian DinéYazhi´, Malynn Foster, Sara Siestreem, Adam Sings in the Timber, Timothy White Eagle, Christine Babic, and more. In addition, 10 emerging artists including Priscilla Dobler, Randi Purser, and Asa Wright have been selected to participate in a mentorship program, receiving artistic guidance from established Native artists.
ARTS at King Street Station will be a new kind of cultural space where communities of color have increased opportunities to present their work and be seen and heard. Grounded in community feedback, the programming and cultural space on the third floor of King Street Station will be an incubator for artists and communities, experimenting with the best ways to respond to the cultural needs of an ever-changing city. A new cohort of King Street Station Advisors will select and respond to community exhibition and programming ideas. ARTS’ goal for King Street Station is to be a resource for the city and the embodiment of the Office’s commitment to racial equity. The 17,130 square foot cultural hub, designed by Olson Kundig with Schacht Aslani Architects, will offer dedicated multi-disciplinary arts presentation spaces, an artist-in-residence studio, modular public areas, community gathering and performance spaces, meeting rooms, and offices for ARTS.
yəhaw̓ is made possible through the financial support of the Seattle Office of Arts & Culture, Na’ah Ilahee Fund, Muckleshoot Tribe, 4Culture, Native Arts and Cultures Foundation, and ArtsFund, via fiscal sponshorship by Na’Ah Illahee Fund. It is grounded in partnerships throughout the region with Alma Mater Tacoma, Artist Trust, Bellevue College, Centrum, Chief Seattle Club, Cowlitz Tribal Health, Feast Arts Center, Jacob Lawrence Gallery at the University of Washington, LANGSTON, Lettuce 253, Northwest Film Forum, Pratt Fine Arts, Race and Pedagogy Conference at UPS, Seattle Art Museum, Seattle Public Library, Hedreen Gallery in the Lee Center for the Arts at Seattle University, Suquamish Museum, Teens in Tacoma, United Indians of All Tribes, The Vera Project, Vermillion Art Gallery and Bar, and more.
The 5th annual Creative Advantage Arts Partners Summer Institute took place on August 16th at Seattle Art Museum. One of the themes of this year’s institute was to think about our education work through the lens of the past, the present and the future. When planning the institute, we worked with advisors to think about how to consider this present moment, how to contextualize it with an understanding of the past and how to imagine a new future. Below are excerpts from interviews Tina LaPadula, Creative Youth Project Manager conducted with teaching artist, activist and performer Jéhan Òsanyìn and artist Julie Trout the visual arts teacher at John Muir Elementary on the 2018 Creative Advantage Summer Institute.
Tina LaPadula: How do you process what’s happening nationally and in our communities? How do you bring these topics or educational justice to your classrooms?
Julie Trout: We are experiencing a transformational time. It is a deeply painful time in our history which sadly is cyclical in nature. Being immersed in the work of education for over 20 years has taken a certain survival mentality and persistence to resistance. It is a juggling act of trying to stay present and hopeful without becoming numb. Being a minority in my classroom is an honor that I don’t take for granted…It would be completely disrespectful and perpetuating our white supremacist underlying’s if I didn’t actually try and lead with narratives of racial equity through the arts. To me, it is connected to everything. I also make sure to work with my community of educators to make these connections by supporting core subjects and showing them how the arts can support educational and restorative justice.
Jéhan Òsanyìn: Part of the issue is that I don’t always process it; it can be a lot. Every minute of most days feels like the stakes are so high stakes in ways that weren’t high stakes before. When I do process it, I do so through my art forms…For students, it’s important to me to be authentic. I don’t always have the opportunity to insert every socio political into a lesson plan (especially under this administration) but I do center my lessons on youth voice so that the young people with whom I work have a place to process through their art like I process through mine. While teaching theatre I encourage students to check-in with themselves as we do our physical warm-ups so that they can become better attuned to the ways what we take-in through the world sits on our shoulders or in our jawlines. As we prepare to play characters we explore how their given circumstances affect them onstage. Then we can tune into what our bodies are telling us about the circumstances we’re within.
TL: You were invited to participate in the Institute as a follow up to Dr. Wayne Au’s keynote about his experience and the new book he contributed to called Teaching for Black Lives. How are you teaching towards liberation? How can educators and TAs model resistance for their students?
JO: I’m teaching toward liberation, I think, because I have to? Everyone’s (literally) everyone’s liberation is tied to my own as a queer Black person of color. That means that all of my curriculum is rooted in the idea that we are more than colonizers have taught our ancestors to teach us what we’re worth. It’s important that students know that their version of their world is at the center of their learning. In classrooms where that is true you can facilitate learning that is applicable and connects all student learning to each other’s and to the world’s.
JT – To me, arts education is the ultimate practice of freedom and resistance…The natural process of creating any sort of art is to lean into the struggle…In our systems of institutional racism to experience a feeling of liberation in the artistic process is an empowering precursor living a more liberated life…If I am asking my youth artists and community to take risks and trust themselves, it is crucial that I am consistently practicing the same vulnerability while staying grounded and consistent in my expectations and rituals. This takes a lot of intentional and daily reflection of how my own privilege takes up space in my classroom, community, and world…Dr. Au writes and spoke about our John Muir act of resistance for event called “Black Men Uniting to Change the Narrative”. This event was organized by co educator DeShawn Jackson as a way to show our community, especially our students of color, that we love and see them. I designed a shirt with the image of a tree representing hopeful growth that can create change while we standing together like a trees in a forest. However, the real strength was in the three words “Black Lives Matter”…In the words of many of our community members of color “ Black Lives Mattered the day I was born”…Of course, this work HAS to transcend the mere act of wearing a shirt , but at that time, at that place, we needed our youth to see their lives mattered. Originally that was the act of love and dedication to our students is what created a flurry of hate, threats, and violence towards our community. The greater community of educators and disruptors then transformed our declaration to an opportunity for others to start uniting in making the three words of Black Lives Matter an intentional part of changing the narrative in the way we approach our work our educational mindset.
TL: We received many questions from the audience about ways to teach about race, racism and whiteness in an arts classroom. Do you have thoughts or specific strategies on that? How do bring your personal identities to your practice?
JO: I have never seen my own language in a master text. I have never seen the language of my family reflected in the academic texts from which my learning stems. That’s bananas. So find other master texts that reflect the populations that you are teaching. Call out the canon for what it is: “What do these texts all have in common? They’re written by cis white dudes. They reflect cis white culture. What is your culture? Who are your experts? Bring them in. Or, if you’re teaching in your community then you should be so entrenched in the culture, or so humble in your distance that you already know some of what’s applicable. Know your content area enough that maybe you don’t have examples until your students discover them in the midst of your teaching.
JT: One of the most important things to me as an educator is to make myself vulnerable in a way that shows our students that they are a partner with us in sharing in the struggle of learning. This is a tricky process of being solid and grounded at the same time shifting the dynamic of power to empowerment. One of the subtle ways I do this is all the visuals I place in my classroom and throughout the school on a consistent basis. If students are constantly seeing themselves throughout the walls of our buildings and classrooms it is a validating practice of being seen. It is also a reminder to our non students of color to look beyond themselves to challenge the status quo. I lead with artists of color and infuse story telling, personal narratives, examples, and make connections to other core subjects to reinforce this… Get comfortable with being uncomfortable. In our culture, white privileged folks have the luxury of having that choice of being comfortable all the time. Make a conscious effort to flip that paradigm. Community outreach is also important. Do what it takes to bring in artists of color to be leaders and get out of the way…For me as a white privileged educator, I use this privilege to get opportunities for my students. I ask, advocate, showcase, and listen to show my community of students I love them. Finally do your own work!! A big part of that is self- care. Again self- care has become some sort of privilege within itself- who has access to healing tools/spaces, time, resources etc. For me, I have to make sure I do things that make me feel calm and grounded such as taking walks around Seward Park and I instinctively listen to what I need when I need it. Sometimes that is just taking a bath after a toxic day. As an arts educator, I have to make art for myself. Even if it is on the smallest scale, it is life saving and keeps me feeling authentic. Find doable ways to take care of yourself and realize that it is a crucial part of this work so you can continue to uncover your own narrative and have space for students to include their own narratives.
TL: New Superintendent Dr. Denice Juneau met the arts education community for the first time at this event. She offered wonderful opening remarks that ended with an anecdote from an educator she knows who has been teaching for 30 years…who said “I’m so excited for school to start, this is going to be a great school year”. What are you looking forward to this year? What gives you hope? What keeps you motivated?
JO – I’m looking forward to developing curriculum that is so different from what’s in my current practice. I’m bored with my own teaching so I’m reinventing my curriculum. I look forward to taking so much of theatre – and academic theatre is SO ROOTED in white culture. There is more to storytelling than that. I’m also incorporating more language of performance with language of justice. When we talk about objectives and tactics and story development how does that connect to us as people and, as a result to us as performers and artists? What gives me hope? Young activists who make me uncomfortable. So often I find that my inherent reaction to disruption is disengagement. I’m so curious about that. Even though I live on a path that is headed toward liberation. What is it in me that wants the world the remain as it is? I try to challenge that discomfort, be transparent about it in my teaching, and welcome challenges from the students I serve.
JT – I am so excited to deepen our arts partnerships that were supported originally by the Creative Advantage initiative. After many years of organizing, our community is embracing the vision of arts as a practice of race/equity. I will continue to stream line that process. I am also super excited about a big textile project I am planning with our 4th/5th grade students that will connect reusable resources, teaching an important life skill of sewing, showcasing, and partnering with Prairie Underground, an amazing local clothing design company. Some of my established projects are always one I love and continue to find ways to improve upon- for example deepening our Indigeous and Ethnic studies with projects using resources and inspirations that are part of our local landscape. It is also very exciting that many of our former Muir students will be at Franklin and take part of our clay creature collaboration between ceramics students and our kinders. I love reconnecting the past with our current and future students. As teachers we don’t always get to see what is beyond our classrooms as we act as cultivators and it is the best when we can revisit our past in his way. The real motivation is the privilege I have to spend time with the amazing youth that have a huge part of my heart.
Photos by Jenny Crooks.
Grab your helmets and join us for a FREE bicycle tour of public art in the Beacon Hill neighborhood.
Partnering with Seattle Neighborhood Greenways, the Seattle Office of Arts & Culture is offering a family-friendly, seven-mile (round trip) bike tour for all ages and abilities that will take you from Jimi Hendrix Park/Northwest African-American Museum to Jefferson Park.
We will stop to view these public artworks—including the four sites below in the City’s collection—and more, including at the Centilia Cultural Center at El Centro:
- Urban Peace Circle, by Gerard Tsutakawa – Sam Smith Park
- Drawing the Land; Painting and Sculpting the Land, by Elizabeth Conner – Jefferson Park
- The Dream Ship “Beacon Hill Discovery”, by Miles Addison Pepper – Beacon Hill Library
- Ravens Bills Downspouts, by Miles Addison Pepper – Beacon Hill Library
- Tidal Wave Story, by Ellen Ziegler – Fire Station 13
Artists Elizabeth Conner (Drawing the Land; Painting and Sculpting the Land) and Gerard Tsutakawa (Urban Peace Circle), and others will join us to talk about their artworks. Participants will also learn about other bike routes in the region that feature prominent public artworks.
Date: Saturday, September 15
Tour Time: 10:00 a.m. – 1:00 p.m.
Tour starts: Jimi Hendrix Park, 2400 S Massachusetts St. (24th Ave S & S Massachusetts St). Meet at the shelter (pictured here).
This easy-paced tour will take you on public streets, bicycle lanes and multi-use trails. Participants need to provide their own bike (or use a dock-less ride share bike) and helmets are required.
The Seattle Department of Transportation (SDOT), in partnership with the Office of Arts & Culture (ARTS), will be celebrating the opening of the Rainier Valley Neighborhood Greenway and Art Interruptions on Saturday August 11th from 12 – 4 p.m. at the Rainier Beach Playfield.
About the Rainier Valley Neighborhood Greenway
The Neighborhood Greenway is a route over 6 miles stretching from the Rainier Beach Branch of the Seattle Public Library to Mount Baker. The route includes improvements like crosswalks, curb ramps, speed humps, and pavement repairs that make walking and biking around the neighborhood easier.
About Art Interruptions
SDOT and ARTS commissioned seven emerging public artists to create temporary art installations along the Rainier Valley Neighborhood Greenway for Art Interruptions 2018. The artworks inhabit city sidewalks and parks and offer passers-by a brief interruption in their day, eliciting a moment of surprise, beauty, contemplation or humor.
Participating artists are:
- Lana Blinderman
- Isobel Davis
- Angie Hinojos Yusuf
- Karey Kessler
- Lawrence Pitre
- Susan Ringstad-Emery
- Miya Sukune
Art Interruptions is funded by the Seattle Department of Transportation 1% for Arts Funds.
All community members and kids are invited to join in the celebration on August 11. We’ll have cold treats, prizes, bike safety tips, and more! Check out the flyer to learn more. #SeattleArtInterruptions
Saturday, August 11 | 12 – 4 PM
West side of Rainier Beach Playfield
And don’t forget to stop by the Rainier Beach Action Coalition’s annual Back 2 School Bash, located nearby, at the Rainier Beach Community Center, from 12 – 4 PM!
The following organizations will be at the event:
- Parks Department Greenway Initiative
- Trees for Neighborhoods – apply for free trees
- Seattle Department of Transportation – vision zero information and games
- Office of Arts & Culture – art scavenger hunt with a chance to win a free popsicle
- Play Streets – Info on making your street a “Play Street”
Photos by Minh Carrico.
Seattle Department Department of Transportation: delivering a high-quality transportation system for Seattle.
Demian DinéYazhi’ and R.I.S.E.: Radical Indigenous Survivance & Empowerment
Saturday, August 4 2018 – 11am-7pm, King Street Station Plaza – 4th Ave S. & Jackson St
Free – Open to the Public – All Ages – Bring items to silkscreen
Demian DinéYazhi & R.I.S.E.: Radical Indigenous Survivance & Empowerment
A Nation is a Massacre creates awareness about ongoing settler-induced violence against Indigenous bodies. Presented here is the project’s newest version, adapted for King Street Station by artist/activist initiative R.I.S.E.: Radical Indigenous Survivance & Empowerment and its founder Demian DinéYazhi’, in collaboration with yəhaw̓.
Text and image-based posters from A Nation is a Massacre will be screen-printed on site and distributed for free to the public. Visitors are invited to bring their own shirts, totes, patches, flags, or other memorabilia to have printed. The Indigenous Vote booth will also be present for new voter registrations.
On the occasion of the fourth annual Seattle Art Fair, with the influx of visitors it brings onto Coast Salish land, Demian DinéYazhi´ and yəhaw̓ hope that this installation of A Nation Is a Massacre will create cross-cultural connections and broader social engagement with Indigenous activism and our shared rights to life.
This project is supported by the City of Seattle’s Office of Arts & Culture.